Olivia Wilde

Despite having little onscreen experience to her name, actress Olivia Wilde emerged as a star thanks to her scene-stealing portrayal of the temptress Alex Kelly on the popular teen drama "The O. C." (...
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The Things They Say:

By:
WENN.com
Sep 18, 2013

"I am honoured to be partnering with Avon as the face of the Today. Tomorrow. Always. fragrances... The collection is made up of fragrances that are true classics, yet modern and fresh at the same time." Hollywood actress Olivia Wilde feels honoured at becoming the new face of Avon's fragrance collection.

Actress Olivia Wilde reached out to pal Jennifer Aniston for advice on how to handle the media after a joke about her sex life with fiance Jason Sudeikis turned her into a tabloid target. The TRON: Legacy beauty hit the headlines last year (12) after quipping that she and her boyfriend were like Kenyan marathon runners in the bedroom.
The intense media scrutiny prompted Wilde to turn to her close friend - Sudeikis' We're The Millers co-star - for help, because Aniston had "been through the wringer" following her high-profile romances with Brad Pitt, Vince Vaughn and John Mayer.
Wilde felt sure Aniston would be able to offer her the best advice on fame management and tells Allure magazine, "I explained the situation, and I said I needed advice on how to deal with these things.
"She wrote me one of the most gracious, wise emails describing her journey and really wonderful words of advice about how to deal with it. And, in the end, I think I would do it all again exactly the same way."

Actress Olivia Wilde is planning a "funny, silly" wedding to comedian Jason Sudeikis and is hoping to keep specific details about her nuptials as private as possible to keep the paparazzi away. She tells Allure magazine, "I trust everyone to not leak any information. I just hope no one ends up flying a stupid helicopter over it or anything dumb like that."

Actress Olivia Wilde has received movie database IMDb.com’s inaugural STARmeter Award. The TRON: Legacy star was presented with the accolade at the 2013 Toronto International Film Festival on Monday (09Sep13), by director Paul Haggis, who directed Wilde in the upcoming film Third Person. The award recognises the stars who are perennial favorites on IMDb’s STARmeter chart.

Columbia Pictures
The girl-on-girl kiss has become a primetime mainstay, since writers realised most people really like to see one All-American starlet frenching on another. So, which PG girl-on-girl kisses are going to be burnt onto our retinas for the rest of time?
Sarah Michelle Gellar and Selma Blair, Cruel Intentions
The thrill of girls next door gone wild is potent. (PS. if you live next door to a vampire slayer and a Party of Five star then we’re coming to your next bridge tournament).
Winona Ryder and Jennifer Aniston, Friends
This vanilla screen kiss, aired at a time when girl-girl snogging was much less common, is a sneaky callback to an unseen and presumably less PG college makeout session that Ryder's character memorably describes. The image of their ‘coconuts knocking together’ ensures that just because this quick peck is the one we see, it’s not the one on everybody’s dirty little mind. Good job, shifty screenwriters!
Allison Williams and Jemima Kirke, Girls
If you live in Brooklyn and you haven’t seen your ‘free spirit’ hipster buddies kissing by now, just zoom in on Lena Dunham’s brat pack for the girl-on-girl-on-Girls experience.
Lucy Lawless and Renee O'Connor, Xena: Warrior Princess
The ultimate Amazonian found perennial solace in the leather jerkin of her BFF. (And to their credit, the show's producers did eventually acknowledge that Xena and Gabrielle were offscreen lovers...the characters,that is, not the actresses.)
Mischa Barton and Olivia Wilde, The O.C.
Listen to the crashing of the waves. Hear the soft murmur of girls, bonding. Pretend you don’t know the Sapphic action is as inevitable as the tide....
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Katie Holmes, Olivia Wilde AND Gerard Butler are among the big names who will host New York's free Global Citizen Festival on 28 September (13). They will be joined by will.i.am, Erin Heatherton, Deborra­-Lee Furness, Karolina Kurkova and Freida Pinto. Alicia Keys and John Mayer will headline the event, which aims to help tackle poverty worldwide.

AdMedia/Splash News
You'll see his face (albeit drenched in blood) in this weekend's horror flick You're Next, but multihyphenate Joe Swanberg is also responsible for another new feature: Drinking Buddies, the rom-com deconstruction starring Olivia Wilde and Jake Johnson as a pair of coworkers and friends struggling with romantic feelings for one another. A far cry from your typical romantic comedy, the film actually works to turn the genre on its head, injecting honesty and humanity into familiar tropes. Swanberg discusses his new picture, the direction the genre is taking in general, and (perhaps best of all) the psychological intricacies behind helping somebody move.
I've seen a ton of romantic comedies throughout the course of my life, and Drinking Buddies felt, to me, like the antithesis of a romantic comedy, in a way. Is that along the lines of what you were going for? Certainly. I'm a big fan of romantic comedies. It's a genre that I have historically liked quite a bit, but they're pretty bad right now. I think we're at a low point in terms of predictability, and kind of the actors being cast in them. So, I think the plan from the beginning was to use the romantic comedy template and infuse it with characters that seem like real people. And who were going through the small dilemmas that people actually face in their relationships. And then, to still try to make it funny and romantic. But not laugh-out-loud, crazy funny.
You say you're a fan of the genre. Was there anything historically, maybe from a brighter era in the rom-com timeline, that you particularly wanted to borrow? Sure. I was riffing definitely on Bob &amp; Carol &amp; Ted &amp; Alice, Paul Mazursky's movie, and Elaine May's The Heartbreak Kid. Those were two big shining lights for me with Drinking Buddies. Just in terms of what I felt was, in both cases, an amazing ability to have complex, interesting adult characters that didn't feel like they were slaves to the plot at all. And then managing to have movies that were also very accessible and big commercial hits at the time. So, this sort of late '60s, early '70s romantic comedy was kind of the ideal that I was shooting for. Drinking Buddies isn't nearly as good as either of those films, but it was at least nice to have those templates to aim for.
The thing that I thought was really interesting about Drinking Buddies, is that you're not even really rooting for Jake Johnson and Olivia Wilde to get together. I didn't even think that they might make a good couple. I'm interested in knowing how you make this movie about these two people, who you obviously want to care about, without necessarily even wanting them to reach the goal that they both kind of desire. I think that this all depends on the audience's level of familiarity with this story, or with the situation that these characters find themselves in. It's been interesting to keep track on Twitter of how teenagers are responding to this movie. There, I feel like there is quite a bit of frustration over the fact that these characters don't get together. And that it doesn't play by the rules of the kind of movies they've been brought up watching. And then, as the audience gets older, there is a lot more relief, almost, that Jake and Anna [Kendrick] work out. So, it's been a lot of fun seeing how the reaction changes. The older people get, and the more that they've had similar experiences in their own lives, they recognize that Jake and Olivia's characters are not a very good match for each other. They're both really selfish people. That relationship probably wouldn't look very good.
You made me think of something interesting when you were talking about teenagers watching the movie. Do you think that there's something of particular merit in making a movie like this, as opposed to what you see generally in the theater, as opposed to how it shapes the way people look at relationships and romance? Absolutely. Historically, we learn a lot from movies. They shape the culture in a very big way. At least for me, in my life, before I had any romantic experiences of my own to base things on, everything I knew was from movies. It's kind of how you first learn about the outside world. So, injecting some reality into the movies is an important task. In lieu of reality, at least some morality. Or a point of view about relationships. I don't mean to get on a soapbox about it, but you do have to think about these things. At least I do. It would be very miserable for me to put a movie out into the world that I felt was sending a message to young people that was not something I believed in. And I think that is what separates conscientious artistic filmmakers from what we would call hacks, or people who just take a paycheck and show up and crank out whatever gets handed to them.
So, if you could define it, what does Drinking Buddies represent to you that you believe in and find to be very important? Well, there's a few things. To me, it provides a model of a couple that encounters a difficulty in their relationship and is able to overcome it. Which is a nice thing to put out there. And, hopefully, it also is a film about the limitations of the fun, flirty, sexy work thing that exists in a very closed circuit. And that thing's inability to function when you invite the rest of life into it. If these characters only ever saw each other at the brewery, they'd probably be able to maintain that indefinitely. But they also know the parameters of the brewery. They know where that begins and ends. Even if you incorporate their drinking and hanging out after work, it's codified, and there are a lot of unwritten roles. It's not until they step outside of that world do they encounter problems. But that's always the case. You can't be in a relationship with somebody who you only see at work.
Magnolia Pictures
Since you bring it up, why exactly did you choose a brewery? A couple different reasons. I'm into craft beer. I'm a home brewer. So, it's a world that I was excited about. And I have friends in Chicago who work in breweries. And it's also a nontraditional workplace environment. Theoretically, this movie could take place anywhere and it wouldn't have a major effect on the story. But coming from most of my experiences working in film and on film sets, which is also a nontraditional workplace environment, I did want to introduce the idea that being around beer, and the loose, fun, non officey feeling of the brewery does contribute to this flirtation that they have. In a different way than if they worked in cubicles apart from each other, and they had a dress code, and strict 9 to 5 hours, and things like that.
The decorum would be totally different between them. Right.
I want to get back to something you were saying about how both characters are pretty self-involved people, and ask about how you can go about delivering characters with flaws like these but still have them come off as lovable. I just have to trust my gut that if I like them, other people will like them. Also, realistic characters become neither good guys or bad guys. There's kind of a general area of just "human" that they start to fall into if you can exhibit enough of a range of behavior and emotion. And then the casting is a huge part of it. I always hope that I'm casting the right people that have chemistry with each other, but also are complex enough to exhibit good and bad qualities. Jake Johnson is the kind of person and actor where, I feel like, he could f**k me over 10 times, and I'd still smile when I saw him. He's just so full of life. He'd be able to talk me into helping him out again. So, you sort of look for that — whatever that quality is — and the rest of the work kind of does its own thing.
And going over to Olivia's character just for a bit — we've seen the archetype for a long time now, in movies and on television, of the hyper competent professional woman whose personal life is kind of in shambles. There are degrees of both of those things in Olivia's character, but to a much more realistic and less limiting way. She's still a respectable human being, someone you don't pity. I was wondering about the process of achieving that after a long line of these failed endeavors at it. A lot of that is Olivia owning that character. It's a big part of my process to let the actors have control, and sort of write the characters along with me. There are useful aspects of working from the template, of starting from a place where you recognize these characters from movies. It buys you some time to invite the audience in before you start dissecting that — like, let's say, what typical romantic comedies do. I feel like all four of these characters, when you first meet them — probably for the first third of the movie — are very recognizable romantic comedy trope characters. The hot, perfect girl at work who does everything right. The prissy, slightly overbearing girlfriend. The older, aloof boyfriend who doesn't get her. And then the lovable brewery guy. And it's a way to … let the history of Hollywood do the work for me in terms of how you enter the picture. And now, let's complicate it. Let's start messing with these people as clichés and making them a little more human than that. The actors end up doing a lot of that work. It doesn't feel as much of a writing concern as a performance concern.
And I just want to ask about the scene when Jake is helping Olivia move to another apartment in the movie. What is it about helping someone move that is the most intimate thing you can do? [Laughs] It's complicated. Nobody would ever help you move unless they were one of your closet friends. Or a professional mover. You're on either end of the spectrum: complete stranger or best friend. And, you know, you're seeing all of somebody's stuff. You're getting a look at somebody's life that's very different. When you go over somebody's apartment, they set it up specifically for you. For guests and visitors. They put a public face on it. And then when somebody moves, you're disassembling that. You're seeing the guts of who they are and what they own. What they hide. And also, it's miserable. There are a lot of emotions wrapped up in places. There's such a big emotional aspect to moving. Leaving a place behind, entering a new place. It's tough stuff. I hate to do it. I'm sure everyone else hates to do it. So it's a nice loaded situation.
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Magnolia Pictures
In the smörgåsbord of cinema, Hollywood's romantic comedy genre is the dessert: it's sweet, unsubstantial, and results in a sugar rush and a feeling of guilt or shame. But despite all the negatives, you're always inclined to cap off a meal with a bite of something sweet— a piece of the seven-layer cake that is The Proposal, or the apple pie that is Friends with Benefits. But in light of these flicks' elaborate frosting and fluffy crusts, you're bound to forget just how satisfying a good trail mix can be. That's Drinking Buddies — subtle, not over-stuffed, and natural. Which are even better qualities in movie form than they are in food form.
Writer/director Joe Swanberg, who you can see with an arrow sticking out of his back in this weekend's amusing horror thriller You're Next, delivers quite possibly the most relatable love story the big screen has featured in years. Managing this is easy enough: toxic relationships, self-involved characters, and a dearth of harpsichord music all make for far more realistic storytelling than any of the genre's major releases we'll recall. But the real triumph is joining this naturalism with something duly enjoyable. Something that, while ostensibly no more whimsical than our own humdrum lives, packs enough character and heart to charm the entire way through.
Following in the footsteps of rom-coms of past, we do have a set of extremely attractive people buzzing about one another: coworkers and best pals Olivia Wilde and Jake Johnson can't deny, though never speak of, the heated affection between them. Meanwhile, Wilde's character is wading through a one-sided relationship with Ron Livingston and Johnson is embedded firmly in his long-term ordeal with Anna Kendrick. But their perfect constructs only skim the surface.
Magnolia Pictures
In Kate (Wilde), we have a take on the silver screen femme fatale with more than a twinge of real world influence: a hypercompetent professional and malfunctioning romantic, she is selfish but compassionate, intelligent but confused, and just delusionally charming enough to make any malformed mind fall head over heels for her. And then there's that malformed mind: the stubborn, hot-tempered, self-destructive Luke (Johnson), who has allotted Kate a position to which she never agreed, but to which she is expected to uphold just the same. This undefined relationship is the undoing of Kate and Luke, companions with more love for one another than either has for respective partners Chris (Livingston) and Jill (Kendrick). There is no understanding of "what they are," or what either wants from the other. All that exists betwixt the all-but-unattached pair: the heart.
And this is the primary player in unraveling things between Kate and Chris, Luke and Jill — the latter two hardly the innocent bystanders or villified obstacles you'd find in your ordinary rom-com. Chris is aloof and professional but kind and smart, Jill is tightly wound and demanding but loving and earnest. They are essentially no better or worse than their center stage partners, nor are they any better or worse for their center stage partners than the rivals set before them. And that is where Drinking Buddies is most unique: although we root for these characters to thrive, we don't root for them in any particular avenue. We don't root for Kate to fall for Luke, or Luke to choose Jill over Kate, or Chris to wind up with whomever. We don't because we see the flaws and follies and bounties in each potential path, and we're not sure at all which way would "work out best" for the heroes in question.
In other words: it's real. A real story about real people in real relationships. And in that, it's important. Nutritious. Though we happily feed on the rich treats of the rom-com genre, we're better off taking down something of value. Something that'll offer an appreciation for natural love stories as opposed to the contrivances of showbiz (which are bound to result in some psychological form of diabetes), and keep you well-fed and sustained. Watch Drinking Buddies, rom-commers. It's good, and good for you.
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Funnyman Jason Sudeikis landed a role in his fiancee Olivia Wilde's latest film after visiting the actress on set. The comic went to see the Tron: Legacy star while she was working on upcoming comedy Drinking Buddies, and he ended up on camera himself.
Wilde explains to New York Post gossip column Page Six, "(Sudeikis) thought he was just coming to visit me for lunch - and he ended up playing my boss, and he's hilarious. It was very hard not to crack up during that scene. I'm very grateful he did that."
The film's director, Joe Swanberg, adds, "Jason got roped into the movie."

Co-starred with Daniel Craig and Harrison Ford in sci-fi Western "Cowboys & Aliens"

Co-starred with Jeff Bridges in "Tron: Legacy," the sequel to the 1982 sci-fi classic "Tron"

Appeared as Princess Inanna in the biblical comedy "Year One"; directed by Harold Ramis

Summary

Despite having little onscreen experience to her name, actress Olivia Wilde emerged as a star thanks to her scene-stealing portrayal of the temptress Alex Kelly on the popular teen drama "The O. C." (Fox, 2003-07). Prior to that, Wilde had only the short-lived "Skin" (Fox, 2003) and a small supporting role in "The Girl Next Door" (2004) under her belt. But her turn on "The O.C." propelled her to stardom, opening doors to both features and television. It was her work on the small screen, however, that proved the biggest boon to her career. After starring in another ratings-deprived series, "The Black Donnellys" (NBC, 2007), she joined the cast of the popular "House" (Fox, 2004-2012), which not only exposed her to a wider audience, but also gave her the opportunity to stretch her creative muscles. Wilde continued to maintain a high profile and began landing roles in major studio features like the Harold Ramis comedy "Year One" (2009) and the long-awaited sequel "Tron: Legacy" (2010). She had a leading role in the big-budget sci-fi/Western hybrid, "Cowboys & Aliens" (2011), as well as the raunchy comedy "The Change-Up" (2011) and the dystopian sci-fi thriller "In Time" (2011), all of which showed the young actress was capable of attracting an audience in a variety of mediums.